Every story is unique and what comes across is a book filled with pain, anger, guilt, pride in the USA, forgiveness, black and ironic humor, and above all what it means to those who went throught the national traumavietnamese conflict, 1961-1975 - personal narratives, american, vietnam -- history -- 1945-1975

This item is part of a collection of photographs and postcards found at 'Lost and Found' market, Lygon street, Brunswick East over the period between April 2013 and September 2013Colonial Camera Shop 6908 Windsor Ave Berwyn Illonoisbig band; instruments; 1930's; illonois; usa; lost and found

Born 7 November 1906. Graduated from Princeton University 1928 with a BA, and from Princeton Theological Seminary in 1932 with a Bachelor of Theology, From 1928 to 1929 he taught at the Forman Christian College in Lahore. In 1935 was minister in the Presbyterian Church in America, holding pastorates in New York City and Albany. In 1951 to 1958 clerk of the General Assembly of the PCUSA President National Council of Churches. General Secretary of the World Council of Churches 1966 to1972. He died aged 78 July 31 1985.B & W head and shoulders photograph of Dr Eugene Carson Blake, wearing suit and tie.eugene carson blake; presbyterian church of the usa; world council of churches general secretary; president national council of churches usa

Hardcover, No Dust Jacket"Patricia Boyd" inside front covergothic short story southern usa , walsh st library

Hardcover"K R/A"fiction usa , walsh st library

dacron grafts, united states, catheter, instrument, new york, usa

The inks used were fabric printing inks and two colours were applied at the one time on the same roller, the roller being inked with green on one side and red on the other. The roller was a sponge paint roller 100mm wide. The technique used was 'soft bed release'. This is where the fabric is placed over a soft bed (woolen blanket with cotton overlay) and the inked block is placed on top of the fabric, then body weight is applied to the back of the block by placing the hands on the block and transferring weight through the body and into the hands. The block is then lifted and the process starts allover again.Rural City of Wangaratta CollectionA repetitive pattern of gum blossoms that has been printed on a rectangular piece of pure silk twill in green and red ink by a lino block.wangaratta art galley, print, lino block, flora, gum, christine upton, textile, australian flora

Upton has used the traditional technique of Indonesian batik to create 'Gumnuts Galore'. Batik has a long history in the world and is believed to have originated on the island of Java in Indonesia. The designs traditionally used in batik are imbued with meaning and powerful symbolism to reflect the culture and beliefs of the place where it was made and for whom it was made for. Upton has instilled her piece such meaning and symbolism by depicting eucalyptus leaves and gumnuts which evokes a sense of belonging and pride.Rural City of Wangaratta Collection, purchased with funds from the Wangaratta Art CouncilA rectangular design of gumnuts on silk created through the batik technique using natural dyes in shades of red, brown, and greenwangaratta art gallery, christine upton, batik, gumnuts, flora, australian flora, textile

Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp

Reinis Zusters OAM was born 15 October 1918 in Odessa, Ukraine, of Latvian parents. Zusters’ father died before he was two years old and he was raised in an orphanage from an early age. He had one sister. He studied Art at the Riga Technical College, Latvia, from 1935 to 1940. He married Aldija Kapteinis, and they had a daughter, Rudite (born 1942 in Riga). After World War II the Zusters family were refugees. They reached Western Australia in 1950, where they stayed for 6 months before moving to Canberra, ACT. In 1952, Zusters moved from Canberra to Pennant Hills in Sydney with his second wife, Arija Biks. Their daughter Laura was born in Sydney in 1956. In 1966, Zusters met his future third wife, Venita Salnajs. In 1969, Zusters bought a house in Greenwich, Sydney. He married Venita on September 17, 1976, and they moved to Wentworth Falls in the Blue Mountains. Zusters died on 8 October, 1999 at Wentworth Falls, and was cremated at Rookwood Crematorium, Sydney. His ashes are buried in the Latvian section of Rookwood Cemetery. Zusters studied at the Technical College of Riga (Latvia), and at East Sydney Technical College, Australia. He was influenced by his Latvian cultural heritage, and admired the artist Voldemars Tone (1892-1958). Shortly after arrival in Australia, Zusters became a draughtsman with the Department of Works and Housing in Canberra. Later he was appointed chief designer with the Australian-American architectural firm Austin-Anderson, at St. Leonards, Sydney. Zusters practised as a full-time professional artist from 1968. Zusters was a prolific painter, predominantly in oils. He produced many large landscapes, including triptychs of the Blue Mountains. His landscapes were mountain scenes prepared in the manner of Jackson Pollock and completed with washes and pale glazes of colour. His cityscapes featured a rich paint surface and sharp-edged thickness of paint applied with a palette knife, layer upon layer. He painted urban scenes of Sydney, inland Australian scenes, and several major portraits including Sir Winston Churchill’s gardener (purchased by Art Gallery of NSW). He made many small informal portrait-drawings of friends. His usual signature was “Zusters”. His work is represented in numerous public and private collections in Australia and abroad. He won numerous prestigious awards in Australia, Japan and USA and was honoured with the Order of Australia Medal in 1994.